The Armory Show
March 02, 2017 —
March 05, 2017
Honor Fraser Gallery is pleased to announce our participation in The Armory Show 2017 featuring Sarah Cain, Rosson Crow, William Leavitt, Guthrie Lonergan, Alexis Smith, and Brenna Youngblood at booth number 715.
Exploring color, depth, scale, and emotion, Sarah Cain makes paintings on paper, canvas, objects, and walls. Though the scale of her work is at times architectural, Cain incorporates small found objects amid drawn and painted gestures. As a result, the visual experience of her work is immersive and is amplified by close looking.
In combination with a bright, bold color palette, Rosson Crow uses a photocopy transfer process to add a collage effect to her large-scale paintings. The transfers increase the illusion of depth, call attention to the paintings' surfaces, and provide visual punctuation to offer viewers a way to navigate through their dense compositions.
William Leavitt's works confront subjects like economic progress and social class, the promise of science to deliver a better future, and narrative structures in theater and visual art. His paintings from the early 2000s juxtapose dramatic mountain landscapes with consumer items like portable music players, coffeemakers, and slide projectors. Figures appear upside down, pixelated, and grouped in surreal scenes of a vaguely dystopian world.
A persisting theme in Guthrie Lonergan's videos, prints, artists' books, and web pages is the humanity that exists in the impersonal structures and aesthetics of the internet. Using the concept of the default as both an easy-to-use software preset and a template for how we use language, pose for the camera, or perform other everyday interactions with technology, Lonergan mines the internet for images like those in Internet Group Shot (2006), a web page that displays a collage of group portraits found online.
For over forty years, Alexis Smith has been constructing intellectually rigorous, visually engaging, and emotionally moving artist's books, collages, and installations. Smith's work can be at turns humorous and melancholy, playful and provocative but always reflects her love of literary and cinematic narrative. She uses fantasy, irony, melodrama, and illusion to deliver incisive commentary on social mores and the mainstream media's command of culture via advertising and entertainment.
Brenna Youngblood's sculpture MJZ (2012) is a construction of painted found wood configured into a stack of boxes. The titular letters merge with the sculpture's skeletal framework. Referencing pop star Michael Jackson and rap icon Jay Z via their familiar initials, Youngblood looks to the just past to comment on social memory and cultural identity.